Mephisto Walz
Insidious

In these sultry midsummer days, newscasts often bore us with the usual tips on how to combat the heat and scorching temperatures. Well, the answer to the mentioned question is simple: listen to "Insidious" by the Americans Mephisto Walz.

As you can see from the cover, we are dealing with a refreshing and chilling gothic pop-rock. "Insidious" encapsulates the death rock rides typical of Christian Death (of which guitarist Barry Galvin was a part during the late Rozz Williams times) and ethereal and full of poignant effect atmospheres that hark back to the dream pop of the Cocteau Twins. All this with the addition of a female voice (Christianna) imbued with particular sweetness and sadness at the same time that accompanies us throughout the opus in question.
Everything you need to adequately mitigate any scorching spirit while being transported to mental places that have the flavor of an autumn breeze that moves already yellowed leaves, rather than a summer sirocco.

If you don’t believe it, listen to the opening song "Magic Bag", with its cadenced and obsessive pace characterized by a gothic mix of dark and sensual voice, icy bass, mosquito-effect guitar and barely hinted drums. Or the following "Our Flesh", the most Christian Death-like song on the album, with a decidedly death rock cut, standing out amidst guitar distortions and the purity and gentleness of Christianna's vocals.
If this is not enough, continue with "Watching From The Darkest Places", "Before These Crimes", and "One Less Day", where sounds so subtle and imperceptible are unleashed that evoke sensations opening horizons, as only the masters of dream pop know how to do. In particular, "One Less Day" has reflections of such Nordic-flavored pathos that it seems hard to think of the band's U.S. origins.

We return to classic death rock with "I Want" and "Witches Gold", excellent post-punk tracks characterized by a pumped-up bass in Joy Division style and the ever-present layer of guitar distortions providing a backdrop to the dark female voice. "Memories Kill" is, instead, an example of how to combine darkwave and industrial without falling into the stereotypical electro-dark sounds so popular especially in the 90s. Christianna's vocal performance reaches its peak in "Nightingale", a song full of charm and gothic mysticism enhanced by echoing vocalizations in the choruses, the bass tip, and decadent synths in the slow parts. There was no better way to close this "Insidious" than with "Ombra Mai Fu", where gothic atmospheres blend with the passion of chamber music.

In conclusion, this album is recommended for those looking for something to combat the summer heat without resorting to the artifices of the modern era. Just listen to it.